From The Straits Times    |

Photo: Sonia Rentsch

From playing catch to toys we have enjoyed, the notion of play can evoke many different memories.

For New York-based creative director and still life artist Sonia Rentsch, the idea of play, which is Hermès’ 2018 theme, reminds her of the doll house her father had built. This toy, together with the memory of her childhood home, became the central motif for her latest work — the window display at Hermès, titled En Passant, or “In Passing” in French.

Hermès’ artistic window displays first began in the 1930s with the work of Annie Beaumel, a young sales assistant from the glove department. She replaced the window manager who called in sick and went wild with the placement of products and even hung a saddle upside down. Leila Menchari, who succeeded Beaumel in 1978, continued this creative and uninhibited manner of display and it became a reflection of Hermès’ identity and uniqueness.

Photo: Edward Hendricks

In Singapore, Hermès’ flagship store at Liat Tower has been chosen to display these imaginative installations since its reopening in 2016 and partners with three to four designers from around the world yearly to showcase their artistry.

Rentsch, an Australian artist who has worked with brands like IKEA and the Museum of Modern Art, worked with Hermès for over six months to conceptualise and finish the window we see today, which will be displayed at the brand’s Liat Tower store from now till Feb 25.

Photo: Edward Hendricks

Other elements of play show themselves through the incorporation of games we might grew up with. Checkered chessboard design as flooring sets the stage while oversized chess pieces help viewers navigate between rooms and floors. Staircases, which were glaringly absent from Sonia’s childhood doll house, are featured prominently and create unique lines of perspectives that blur the lines between art and toy.

Read on as we pick Sonia’s brain on what motivates her, her journey as an artist and how she developed En Passant.


Photo: Edward Hendricks

Q: What made you decide to become a still life artist?

A: If only I’d had any idea choosing to be a still life artist was an option when I left high school!

I studied Industrial Design at University and worked in that field designing products, spaces and installations for a good 10 years post-University.

I moved to Berlin from Melbourne in 2009 and found myself unemployed for an extended period. So I started looking outside the box for work options.

Eventually I was employed as a studio assistant for a 3D illustrator who made conceptual sets for photoshoots. It was like someone had opened a magic door to a reality I could only dream of, and by the time I made it back to Australia, I knew that was my destiny.

Still life is a work where magic becomes reality. Anything you dream can be made real — as opposed to my previous existence where there were constant constraints, now, sets for photoshoots are an endless world of possibility.


Photo: Edward Hendricks

Q: What is the inspiration and motivation behind your work?

A: The adrenaline rush of building something completely new. I’m inspired by the tangible and the intangible. It could be the rubbish on the street caught in the afternoon sun or a book I’m reading that stirs the imagination. The constant drip of my oil heater has me thinking a lot about fluidity; it’s the oddest things that spark a flame.


Q: How did majoring in industrial design shape your current career as a creative director and still life artist?

A: It gave me an understanding of how things are built and taught me to feel confident about building them. I have a firm understanding of materials and process.

I can come up with an idea but also sketch it out, specify how it should be made and discuss problems with my build team. It gives me a very all terrain outlook on my job.

Still life sets require the same principals of good design. Everything comes down to problem solving. In this world my daily challenges are focused around balancing objects, space, scale, colour, light — things that manipulated quickly enable visual outcomes. They’re really joyful problems to tackle.

Photo: Edward Hendricks

Q: Why did you decide to name this installation En Passant?

A: In Passing – stems from several thoughts; the mere act of passing the work on the street. It’s an exchange — I like to visualise it as a quiet nod — the eye contact, even if only brief (in passing) will be a daily occurrence for an undefined number of strangers every day.

It’s also the name of a chess move which ties nicely to the inclusion of the board and the players in the piece.

Finally, it’s a reflection – in passing – of a memory that triggered the idea. Something that existed in my reality that has passed but inspired in its place a new story.


Q: Why did you relate the “notion of play” to your personal childhood for this exhibition?

A: When Hermès briefed me, they sent a list of their own notions of play. I pondered all of their inspirations and then my trip to Singapore, my career, my interests.

I think so much of who we become as adults stems from those idealistic days of make believe. My notion of play and how I approach the world is very much rooted in those memories. I simply chose to share my playground with new playmates.


Q: Since En Passant is modeled after the doll house that your father built, can you share with us the background story and the importance of this doll house?

A: Mining the formative memory of role play and how that action grew into a love of manipulating space is intriguing to me.

That Doll House was my first blank canvas. It has walls, doors, windows but what happened within those spaces was up to me.

When I was slightly older I had an obsession with the constant rearranging of my bedroom furniture. For someone who’s say 12, that’s clearly a further interest in spatial relevance and the emotions that altering it avow.

My career in reflection seems like an obvious choice but it wasn’t so simple as say declaring ‘I want to be a Doctor’ – it’s tougher to communicate that you want to manipulate space and objects to evoke emotion.

In referencing that Doll House, I’m sharing a story — how I learnt to play.


Photo: Edward Hendricks

Q: We spot a lot of stairways in your installation. Could you share with us the significance of this?

A: My dad holds an intensely keen attention to detail. I watched him recently pack a shipping container worth of furniture into the boot of his car. He’s like a surgeon with his precision and understanding of space – not a centimetre was left unused.

The doll house was perfect but it lacked one important detail — stairs. A two story house minus stairs – how could it be! I’ve asked my father why he didn’t add them but he can’t recall.

It’s so clear in my memory that they were absent. This was dad’s thing – details – and yet here was a gaping hole. Literally.

Thankfully the vivid imagination of a child conjures all it needs and in my mind the stairs were plentiful.

When I reconstructed the space for Hermès I thus added stairs with indulgence. I had been roaming the malls on Orchard Road going up and down without seeming end, getting lost in a maze of possibility.

Those spaces reminded me of Escher drawings, the surrealism that they could possibly go on forever. Like my childhood imagined stairways, this isn’t the case, but I liked the connection between place and time.

I hoped that when the audience in Singapore strolled by they too might make the connection to their own local experience but also ponder where those steps led. Possibility is the nicest feeling, why not attempt to evoke it.


Q: How did you incorporate the essence of Hermès into your art installation?

A: For me, Hermès is a purveyor of idealism – the company remains family owned and grew from a saddlery to a luxury house. It reinvents its classic products to keep them fresh and inspires masses through its support of the arts and artists.

By making my installation a personal story I attempted to share my own understanding of what it means to imagine great utopian things. It’s a hopeful reminder that small things have the possibility to grow into large things.


Q: What do you hope for the audience to take away with them when they visit this exhibition?

A: Possibility – the stairs are a symbol to me of what can become from the seed of imagination.


Q: Are there any tips that you would like to share with our readers on how to be a good/impactful artist?

A: I think story telling is a vital part of being an artist – even if the story the passer-by on the street takes away is completely different from the one I envisaged, the hope is always to evoke a sense of a reality beyond the one we exist within.

The small child who stood in front of that doll house never dreamed that one day they would build a house for Hermès and yet there it is – possibility is a wonderful thing.